Armed with impressive musical knowledge, North-shore local Noah Page has risen to become one of the most in-demand producers/engineers currently on the Auckland scene. The 2020 release of his group, the Universal Authors, their EP 'Error 4040' and their 2021 single 'Liquor License', thrust Page's talent into the spotlight, spiking the keen interest of the New Zealand Music Commission, which offered him the opportunity to intern at Devonport-based recording studio, DEPOT Sound. Fast-forward two years, and Page has risen to become a key face at DEPOT Sound.
Ellie Brown: The DEPOT internship placed you under the wing of legendary sound engineer Neil Baldock. From his teachings, what stuck with you?
Noah Page: Neil has a unique approach to managing a studio. The knowledge I expected Neil to impart was along technical lines. However, throughout his career, Neil found that focusing on the nitty-gritty technical aspects isn't where the heart of producing lies. He imparted this invaluable knowledge: how to read a room full of musicians and producers. That kind of knowledge you can't get from any textbook.
What drew you to the engineering side of music, and what drives you to keep improving?
Audio engineering allowed me to combine my fascination with technology with my deep passion for music. I was always aware that the engineering side to producing a record was there, which I fully realised after watching Dave Grohl’s documentary 'Sound City'. It exposed the elusive process of music production and provided a peek inside the boundless world of sound experimentation. This topic continues to fascinate and drive my passion.
You've moonlighted as an artist, performing piano, vocals, and drums. How has this impacted your expertise the other side of the recording studio?
My experience in music production comes from my background as a musician. I learned classical piano and guitar before moving into the recording side, meaning I’m much more inclined to reach for an instrument to create organic sound, rather than electronically experimenting with a sample or plugin. I have huge respect for people who work in the box – those who can work with such speed are some of the most exciting producers out there. My role constantly surrounds me with exciting musical projects that I have the opportunity to physically play on, hence my aptitude for playing as many instruments in as many sessions as possible!
How does your style separate you from other engineers?
I have a deep-rooted interest in live performance, with a variety of musicians coming together in a studio environment. This is nothing new; music has been recorded live for the best part of the last century. However, I feel something really exists at the intersection of this spectacularly human 'less-is-more' approach, and the technological power of computer-based recording. A lot of modern chart-topping music is produced inside a computer – and I can definitely see the benefit of that. However, my style is defined by reaching the happy medium between these different ways of music-making.
Does your unique approach to sound engineering lend itself to any genre in particular?
I’m typically working with organic music from emerging artists, indie bands, singer/songwriters... those looking to use sounds and textures of the past in new exciting ways. I’m currently drawing influence from folk, country and Americana artists who walk the line of creating a fresh, modern sound while simultaneously nodding to well-loved familiar tones.
What's one piece of advice you would give to 'pre-internship' Noah?
Keep it simple. You’re overthinking everything – step back and allow your process and musicianship to shine. This applies to both personal and professional work. Your clients possess great capability to reach their goals on their own – your role is to encourage that process.
Who are your inspirations?
My sources of inspiration are ever-changing, as I broaden my listening horizons. Recently I’m really enjoying Faye Webster's records – I can’t get over her penchant for melancholic, catchy and personal songs... plus her use of pedal steel guitar is incredible! Alice Phoebe Lou’s 2023 record, 'Shelter' and her dance-focused side project 'strongboi', are also recent sources of inspiration. On the production side, I’m a big fan of Eric Valentine, Mike Crossey and Jack Antonoff.
Visit DEPOT Sound's website for more information at depot.org.nz/sound
Channel Mag's youth contributors, Fantasia Nair and Ellie Brown bring a fresh monthly feature to our pages to inspire and advise our younger North Shore readers. If there are any topics you'd like to read about, contact Liz at liz@channelmag.co.nz and our fledgling writers will research and write engaging articles specifically for our younger (at heart) readers.
